by a mass of details. Picture-making words and
those imitative of sounds, as well as figures of speech, may be used to
advantage in descriptive beginnings. For the description of feelings,
words with a rich emotional connotation are important.

DESCRIPTIVE BEGINNINGS

(1)

(_Munsey's Magazine_)

OUR HIGHEST COURT

BY HORACE TOWNER

"The Honorable the Supreme Court of the United States!"

Nearly every week-day during the winter months, exactly at noon,
these warning words, intoned in a resonant and solemn voice, may be
heard by the visitor who chances to pass the doors of the Supreme
Court Chamber in the Capitol of the United States. The visitor sees
that others are entering those august portals, and so he, too, makes
bold to step softly inside.

If he has not waited too long, he finds himself within the chamber
in time to see nine justices of our highest court, clad in long,
black robes, file slowly into the room from an antechamber at the
left.

Every one within the room has arisen, and all stand respectfully at
attention while the justices take their places. Then the voice of
the court crier is heard again:

"_Oyez, oyez, oyez_! All persons having business with the Supreme
Court of the United States are admonished to draw near and give
their attention, for the court is now sitting."

Then, after a slight pause:

"God save the United States and this honorable court!"

The justices seat themselves; the attorneys at the bar and visitors
do likewise. The Supreme Court of the United States, generally held
to be the most powerful tribunal on earth, is in session.

(2)

(_Collier's Weekly_)

JAMES WHITCOMB BROUGHER, A PREACHER TO THE PROCESSION

BY PETER CLARK MACFARLANE

Imagine the Hippodrome--the largest playhouse of New York and of the
New World! Imagine it filled with people from foot-lights to the
last row in the topmost gallery--orchestra, dress circle, and
balconies--a huge uprising, semicircular bowl, lined with human
beings. Imagine it thus, and then strip the stage; take away the
Indians and the soldiers, the elephants and the camels; take away
the careening stage coaches and the thundering hoofs of horses, and
all the strange conglomeration of dramatic activities with which
these inventive stage managers are accustomed to p